Alabama Getaway-> Promised Land, They Love Each Other, Mexicali Blues-> El Paso, Tennessee Jed-> Minglewood Blues, Don't Ease Me In, Looks Like Rain, Easy To Love You-> Althea, Feel Like A Stranger China Cat Sunflower-> I Know You Rider-> Lost Sailor-> Saint Of Circumstance-> Terrapin Station-> Drums-> Truckin'-> Black Peter-> Around & Around-> Johnny B. Goode, E: U.S. Blues
November 23, 2004
I don't know why I use that silly expression, since I don't usually makeup mythical descriptions but I remember some guy near me saying that during the mind blowing improvisation, (remember there is no air in space, hence no sound), before a killer Truckin'!
I have heard better of some of the material, Althea for example is rather laid back until the end , most certainly not as rousing as possible compared to like almost a month later in San Diego, they played probably the best or best early version at least I've ever heard, Of course you'll know, there's many good and lousy versions of that song. Nevertheless, but I still think it was one of the better of the shows they played there and I saw all but the last one.
For one thing, since I never quite made it to shows, (although I considered it), before '76, out of the ~211 I saw, only twice did I see them do 13 tunes in the first set and only a handful of times did I see 12 as they did this time. By the way during Mexicali, either Brent or Healy, or someone is doing sound effects to simulate gun shots to fit the storyline !
Furthermore, Johnny B. Goode is also rippin', and Feel like a Stranger is good. But most notable besides the pre-Truckin' is a very early, (I don't know if it was the first but definitely early and very good), jam after Terrapin Station, which ain't bad itself.
As for the otherwise mentioned problems, There are indeed some yet, I too had some. If I didn't have technical difficulties with my master during the opener I'd offer up my recording which otherwise came out terrific, also (FOB). Maybe someday when I manage to get my masters out of storage, a combination of the two will be best as is so often the case otherwise.
Now given the long first set and continuous second, I recognize that is was probably impossible not to get a cut somewhere, however I don't understand how as it seems, one gets two cuts in Minglewood; besides making totally unnecessarily,before the tune, which I can't recall (about 2/3 into the first set), is completely finished, an abrupt fade out,. Also Stranger is clipped at the beginning, These are not to be confused with the three or more occurrences, one being Stranger, where for each of the three singer's, on their tunes respectively, their vocal mic wasn't turned on at the beginning. There may even be another slight clip as well ?
This was obviously made from very close to where I was, since I can here myself twice on this recording; embarrassingly, I'm the fool who calls for "Crazy Fingers" somewhere in the first set. (Of course, little did I know that I'd get my wish here two years later, but much better before even in Ventura, and best after at Red Rocks). Do I hear you saying to yourself well, if that guy was calling for tunes this must be better. The sound there is quite good being a rather shallow bowl despite the visible presence of an airport behind the stage for example.
This sounds, virtually identical in terms of the ratio of crowd vs. the music to mine. I had my mic's high enough so that my voice was about the same level as it is here ! Which brings me to a broader topic.
Does this transfer have as much dynamic range as my master, maybe less, since I still have to turn it up much more than I should; although that is on my computer; or indeed perhaps even this recordings' master master does, as being digital it should ? (see below). Yet certainly more, (and this may just be the random coincidence of the choices of posts I've picked out here, rather than across the board, since I've no where near listened to them all. My main point here is, many of the posts I've tried. Including surprisingly, even those coming from later periods, ie. which therefore, originally being DAT's (either audience or boards), should have the maximum, possible dynamic range. But far too many of them I've found are, I believe transferred too low, I'm not saying, none of these folks know what they're doing, and thus hard for me to believe all the masters are really that low,
Back in the analog days, I was always an advocate for not over recording, during which time those who didn't know what they were doing, tended to over record, Now it seems the reverse however, this one is sort of in between. I certainly don't want, even with digital recording, (since ultimately one's speaker system is analog anyway), to find myself promoting recording to loud ! Especially when a show (I can't remember exactly which one), I listened to a few days ago, being generally quite a low level recording, yet at a specific point it peaked at a dramatically higher level, as it should be, hence capturing the entire dynamic range without distortion.
My mic's some may say, aren't as good but certainly not bad (Audio Technica 811 or 814 ? I still have them but I haven't used them in so long).
On the other hand, I know for sure my little known deck was certainly good and I always thought it was better than a D5, but bigger and it's terrific noise reduction Super ANRS beat the hell out of Dolby B, at least as good as Dolby C perhaps even better, but totally in compatible; (Dolby C having never been available on the D5, only later on the D6).
Speaking of availability, that is why I bought in the first place (when they were at Winterland 10/78 because the D5 didn't come out until just before Brent's first show. The only other deck worth considering at the time was the Panasonic/Technics deck). yet only CrO2 tape capable.
And another thing my U.S. Blues isn't missing !